Honorable Mention, 2022 LASA Visual Culture Section Book Award
As a young Fulbright scholar in Bogotá determined to democratize the photographic gaze and bring new visions and voices to public debate about Colombia’s armed conflict, Alexander L. Fattal founded Disparando Cámaras para la Paz (Shooting Cameras for Peace). The project taught photography to young people in El Progreso, a neighborhood on the city’s outskirts that was home to families displaced by violence in the countryside. Cameras in hand, the youth had a chance to record and reimagine their daily existence.
Shooting Cameras for Peace / Disparando Cámaras para la Paz is a penetrating look at one of Latin America’s most dynamic participatory media projects. The haunting and exuberant photographs made under its auspices testify to young people’s will to play, to dream, and to survive. The images bear witness to the resilience and creativity of lives marked by a war that refuses to die.
With text in English and Spanish, Shooting Cameras for Peace / Disparando Cámaras para la Paz makes vital contributions to studies of collaborative media, photographic activism, and peace and conflict in Colombia. Fattal’s insightful text offers critical reflection on the genre of participatory photography and the structural challenges faced by similar media projects.
Since its founding in 1886, the Peabody Museum of Archaeology and Ethnology at Harvard University has been collecting, caring for, exhibiting, and researching objects produced by human cultures around the world. This handsomely illustrated, highly portable volume presents a selection of more than 90 objects in honor of the museum’s 150th anniversary in 2016–2017. Dating from Paleolithic times to the present and originating from the Arctic Circle to South Pacific, these selections represent but a fraction of the 1.4 million pieces in the museum’s collections. They range in character from the sacred to the profane, the utilitarian to the highly decorative, the deeply symbolic to the outrageously whimsical.
Chosen by the museum’s curators and staff, the works presented in Far & Near provide a tantalizing glimpse into the wonders of the collections of the Peabody Museum and reflect the skilled artistry of human hands and the endless creativity of the human mind.
Still Points is a collection of remarkable and evocative still photographs taken by award-winning nonfiction filmmaker and author Robert Gardner during his anthropological and filming expeditions around the world. Thousands of his original photographic transparencies and negatives from the Kalahari Desert, New Guinea, Colombia, India, Ethiopia, Niger, and other remote locations are now housed in the Photographic Archives of Harvard’s Peabody Museum of Archaeology and Ethnology. This elegantly produced volume presents a curated selection of more than 70 color and black-and-white images made by Gardner between the 1950s and the 1980s. Edited by Adele Pressman, Gardner’s wife and literary executor, and with a foreword by Eliot Weinberger, Still Points both honors an important and influential artist and reveals new dimensions in his work.
First Place, 2017 New England Book Show (General Trade, Illustrated)
First Place, 2017 NEMA Awards (Books)
Miki Kratsman has worked as a photojournalist in the Palestinian Occupied Territories for over three decades. Originally created in the context of daily news, his tens of thousands of photographs have, in retrospect, taken on fascinating new meanings, as bystanders become protagonists and peripheral details move to the center. Isolated from the original frame, cropped, enlarged, and redisplayed, the reimagined images ask us to explore the limits of the observer’s gaze under conditions of occupation.
Kratsman’s photographs look at both “wanted men”—individuals sought by the Israeli state—and the everyman and everywoman on the street who, by virtue of being Palestinian in a particular time and place, can be seen as a “suspect.” The work is both transgressive and banal, crossing boundaries between Israel and Palestine, “wanted” and “innocent,” street photography and surveillance imagery. Kratsman has also provoked vital, long-term interaction around the images on social media, creating a Facebook page on which viewers are invited to identify the individuals portrayed and comment on their “fate.” His complex project is chronicled in this book in more than 300 images that powerfully implicate the viewer as we follow the gaze of both occupier and occupied within a complex web of power relations around issues of life and death.
A thought-provoking text by Ariella Azoulay engages intimately with Kratsman’s images. Looking at various models of historical and civil construction of the gaze, Azoulay explores the ways in which the shadow of death is an actual threat that hovers over Kratsman’s photographed persons and frames both individuals and the borrowed time within which they exist.
A supplemental booklet contains hundreds of portraits and evocative messages from Kratsman’s Facebook proj
Photographer Kevin Bubriski has been visually documenting the country and people of Nepal since his first visit in 1975. Sent as a young Peace Corps volunteer to the northwest Karnali Zone, the country’s remotest and most economically depressed region, he spent three years walking the length and breadth of the Karnali, planning and overseeing construction of gravity flow drinking water pipelines. He also photographed the local villagers, producing an extraordinary series of 35mm and large format black-and-white images. For nearly four decades, Bubriski has maintained his close association with Nepal and its people. Both visual anthropology and cultural history, this remarkable body of photographic work documents Nepal’s evolution from a traditional Himalayan kingdom to a rapidly changing, globalized society. Nepal: 1975–2011 also offers an incisive and comprehensive look at the aesthetic evolution of an important contemporary photographer.
Kevin Bubriski is Assistant Professor of Photography at Green Mountain College in Poultney, Vermont, and was the 2010 recipient of the Robert Gardner Visiting Artist Fellowship at the Peabody Museum of Archaeology and Ethnology at Harvard University.
House of Love is a work of photo fiction by Dayanita Singh. Working closely with the writer, Aveek Sen, whose prose follows a journey of its own, Singh explores the relationships among photography, memory, and writing. House of Love, designed to blur the lines between an art book of photographic images and a work of literary fiction, is a book whose images demand to be read, not just seen, and whose texts create their own sensory worlds. The combination creates a new vocabulary for the visual book.
The “House of Love” itself is the Taj Mahal, but the Taj Mahal is a recurring motif that stands for a range of meanings — meanings made up of the truths and lies of night and day, love and illusion, attachment and detachment. Through images of cities both visible and invisible, of people real and surreal, Singh creates her own mysterious and ineffable, strange yet familiar language, using her trademark black-and-white photography and her newer nocturnal color work.
Dayanita Singh was born in New Delhi in 1961. She studied at the National Institute of Design in Ahmedabad and later concentrated on photojournalism and documentary photography at the International Center of Photography in New York. Her photos have been exhibited many times, most recently at the Venice Biennale 2011. Singh’s books include, Myself Mona Ahmed, Privacy, Go Away Closer, Sent a Letter, Blue book, Dream Villa and Dayanita Singh. She lives in New Delhi.
Aveek Sen is a senior assistant editor (editorial pages) of The Telegraph, Calcutta, where he has written extensively on photography. He was a Rhodes Scholar at University College, Oxford, where he studied English literature, before going on to teach English at St Hilda’s College, Oxford. He is the winner of the 2009 International Center for Photography Infinity Award for Writing on Photography.
Edited by Charles Warren Photographs by Michael Rockefeller, Adelaide de Menil, Kevin Bubriski, Christopher James, Jane Tuckerman, Susan Meiselas, and Alex Webb
Winner, 2009 New England Book Show (General Trade, Book and Cover)
First Place, 2010 NEMA Awards (Books Over $10)
Silver Medal, 2010 IPPY Awards (Photo)
Finalist, 2010 Ben Franklin Awards (Arts)
Finalist, 2009 Foreword Magazine Awards (Photo)
In Human Documents, Robert Gardner introduces the work of photographers with whom he has worked over a period of nearly fifty years under the auspices of the Film Study Center at Harvard. Their images achieve the status of what Gardner calls “human documents”: visual evidence that testifies to our shared humanity. In images and words, the book adds to the already significant literature on photography and filmmaking as ways to gather both fact and insight into the human condition. In nearly 100 images spanning geographies and cultures including India, New Guinea, Ethiopia, and the United States, Human Documents demonstrates the important role photography can play in furthering our understanding of human nature and connecting people through an almost universal visual language.
Author and cultural critic Eliot Weinberger contributes the essay “Photography and Anthropology (A Contact Sheet),” in which he provides a new and intriguing context for viewing and thinking about the images presented here.
“Guy Tillim … combines a profound sense of historic documentation of African countries ravaged by conflicts and tragedies of all kinds and a very stringent formal aesthetic devoid of all mannerism.”' —Michket Krifa
As the first recipient of the Robert Gardner Fellowship in Photography at the Peabody Museum, Guy Tillim traveled through Angola, Mozambique, Congo, and Madagascar, documenting the grand colonial architecture and how it has become part of a contemporary African stage. His photographs reveal the decay and detritus of colonialism in Western and Southern Africa and convey an acute sense of humanity.
Tillim is an award-winning photographer from South Africa. His photographic documentation of social conflict and inequality in the countries of Africa has been exhibited in more than a dozen countries and widely published.